Skills and Messages Showcased
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
KUCI Diaoyu Senkaku Ad.Indd
The Diaoyu-Senkaku Alternative 中日另类音乐on KUCI (88.9FM, www.kuci.org ) Winter 2012 (Jan.-Mar.), Noon-2pm Sundays w/ DJ Poseur Chinese and Japanese alternative music for peace in the Pacific. PROGRAM SCHEDULE (DISPUTED MUSICAL ISLANDS): 1-15: SURVEY (Gala; 33島; Omnipotent Youth Society; 旅行团; Yellow Submarine; 二手玫瑰; A-Z组合; LMF; 沼泽; Silver Ash; 重塑 雕像的权利; Buffalo Daughter; 4 Bonjour’s Parties; 椎名林檎 × 斎藤ネコ; Cartonbox; ウリチパン郡; Electronico; 54-71; Ma- mastudio; Plamo; 東京事変; ウイリアム) 1-22: ROCK (崔健; PK 14; 达达乐队; 木mυmα马; 麦田守望者; 果味VC; Fancy World; 刺猬乐队; Lonely China Day; 后 海大鲨鱼; 星期三旅行; 瘦人; 鐵風箏; 沙子; 废墟; 谷僳; Brahman; Cascade; Clingon; センチメンタルバス; Gellers; Maboroshi; 19; Sherbets; Wino) (UCI basketball game at 2 may shorten this show.) 1-29: FOLK/BLUES/REGGAE & DUB/LATIN (山人; 胡吗个; 腰; 李志; 周云蓬; 洪启; Hanggai; 杭天; 布衣; 龙神道; Little Tempo; ナーキ; Copa Salvo; Saigenji; A.S.P.; Determinations; 小松亮太) 2-5: LOUD (PUNK, METAL, EXPERIMENTAL) (冷血動物; 新裤子; 反光镜乐队; 吹波糖; 壞女兒; 哎吆; Haranga; 天堂乐队; 唐朝; Yaksa; 痛苦的信仰; 张 震 岳; Dragon Ash; Eastern Youth; Laputa; Demi Semi Quaver) 2-12: ELECTRONIC & SYNTH-POP (B6; 超级市场; Dead J; Gemini Trip; 周先生; Igo; Nobukazu Takemura; DJ Krush; 氷 室京介; IQU; 嶺川貴子; Pre-school) 2-19: HIP-HOP (LMF; 關威; FAMA; 功夫; A. Jordan Chan; 大陆断层; Machi; 周杰倫; MC Hotdog; 葡桃; タサツ; Lunch Time Speax; DABO; Fu-Ten; Rhymester; Rino Latina; Zeebra) 2-26: HIP-HOP (UCI baseball game at 1 will greatly abbreviate this show.) 3-4: NOVELTIES (苍蝇乐队; 小河; 雪村; Sick Pupa; 王勇; 光磊; 忐忑; Shugo Tokumaru; Great Chicken Powers; 岡平健 治; New Electron; OOIOO) 3-11: QUIET FOR FINALS (Me:Mo; 惘闻; ASA-CHANG & 巡礼; Aoki Takamasa + Tujiko Noriko; 細野晴臣; Yuka Honda; Yuki Kaneko; カヒミカリィ; Kozo) 3-18: QUIET FOR FINALS (UCI baseball game at 1 will greatly abbreviate this show.) 3-25 FREEFORM REVIEW (SURVEY) Highlighting music on the following labels: Modern Sky, Badhead, Jingwen, Scream, Rock Records, So Rock!, Toy’s Factory, Pony Canyon, and many other small, independents. -
Read the Report
23 Dec 2020 CMB International Securities | Equity Research | Company Initiation iQIYI (IQ US) BUY (Initiation) China’s online Disney in the making Target Price US$23.2 Up/Downside +34.8% Current Price US$17.2 We keep positive on IQIYI’s long-term subs trend and margin improvement , backed by its sizable users, unique original content and valuable IP. We forecast iQIYI to deliver 11% revenue CAGR during FY20-22E, with subs price hike and China Internet Sector ads recovery. Given fundraising partly priced in, we think iQIYI’s valuation is attractive. Initiate with BUY with DCF-based TP US$23.2. Sophie Huang An online video leader: Not only “Netflix”, but more. iQIYI is a leading (852) 3900 0889 online video platform in China, with 105mn subs. Backed by its sizable users, [email protected] vibrant original content and IP reserve, we forecast iQIYI to deliver 11% rev CAGR in FY20-22E, with subs price hike, ads recovery, and user expansion. Miriam Lu (852) 3761 8728 Original content makes the difference. With online video industry growth [email protected] tapering off, we believe content matters more to users than traffic or subsidies. iQIYI exceled itself with exclusive original content in both popular dramas and variety shows. Moreover, it bore initial fruits from short-episode dramas (e.g. Stock Data Mkt Cap (US$ mn) 13,499 the popularity of The Bad Kids <隐秘的角落>), and would further enrich Light Avg 3 mths t/o (US$ mn) 180.41 on Series (迷雾剧场) with stronger pipeline. We expect short-episode dramas 52w High/Low (US$) 28.03/ 14.51 series to stimulate its subs & brand ads momentum with higher ROI, such as Total Issued Shares (mn) 373 Who is Murderer<谁是凶手> in 2021 pipeline. -
The Pop Scene Around the World Andrew Clawson Iowa State University
Volume 2 Article 13 12-2011 The pop scene around the world Andrew Clawson Iowa State University Emily Kudobe Iowa State University Follow this and additional works at: http://lib.dr.iastate.edu/revival Recommended Citation Clawson, Andrew and Kudobe, Emily (2011) "The pop cs ene around the world," Revival Magazine: Vol. 2 , Article 13. Available at: http://lib.dr.iastate.edu/revival/vol2/iss1/13 This Article is brought to you for free and open access by the Student Publications at Iowa State University Digital Repository. It has been accepted for inclusion in Revival Magazine by an authorized editor of Iowa State University Digital Repository. For more information, please contact [email protected]. Clawson and Kudobe: The pop scene around the world The POP SCENE Around the World Taiwan Hong Kong Japan After the People’s Republic of China was Japan is the second largest music market Hong Kong can be thought of as the Hol- established, much of the music industry in the world. Japanese pop, or J-pop, is lywood of the Far East, with its enormous left for Taiwan. Language restrictions at popular throughout Asia, with artists such film and music industry. Some of Asia’s the time, put in place by the KMT, forbade as Utada Hikaru reaching popularity in most famous actors and actresses come the use of Japanese language and the the United States. Heavy metal is also very from Hong Kong, and many of those ac- native Hokkien and required the use of popular in Japan. Japanese rock bands, tors and actresses are also pop singers. -
China's Year in Review
2017 China's Year in Review 城市漫步上海 英文版12月份 国内统一刊号: CN 11-5233/GO China Intercontinental Press DECEMBER 2017 that’s Shanghai 《城市漫步》上海版 英文月刊 主管单位 : 中华人民共和国国务院新闻办公室 Supervised by the State Council Information Office of the People's Republic of China 主办单位 : 五洲传播出版社 地址 : 中国北京 北京西城月坛北街 26 号恒华国际商务中心南楼 11 层文化交流中心 邮编 100045 Published by China Intercontinental Press Address: 11th Floor South Building, HengHua linternational Business Center, 26 Yuetan North Street, Xicheng District, Beijing 100045, PRC http://www.cicc.org.cn 社长 President of China Intercontinental Press: 陈陆军 Chen Lujun 期刊部负责人 Supervisor of Magazine Department: 邓锦辉 Deng Jinhui 主编 Executive Editor: 袁保安 Yuan Baoan 编辑 Editor: 朱莉莉 Zhu Lili 发行 Circulation: 李若琳 Li Ruolin Chief Editor Dominic Ngai Section Editors Betty Richardson, Erica Martin Senior Editor Tongfei Zhang Production Manager Ivy Zhang Designer Joan Dai Contributors Mia Li, Logan Brouse, Noelle Mateer, Jocelyn Richards, Frances Chen, Dominique Wong, Iris Wang, Sky Thomas Gidge, Zoey Zha, Emily Guzman, Isabel Chan Copy Editor Luke Sheehan HK FOCUS MEDIA Shanghai (Head office) 上海和舟广告有限公司 上海市蒙自路 169 号智造局 2 号楼 305-306 室 邮政编码 : 200023 Room 305-306, Building 2, No.169 Mengzi Lu, Shanghai 200023 电话 : 021-8023 2199 传真 : 021-8023 2190 Guangzhou 上海和舟广告有限公司广州分公司 广州市越秀区麓苑路 42 号大院 2 号楼 610 室 邮政编码 : 510095 Room 610, No. 2 Building, Area 42, Luyuan Lu, Yuexiu District, Guangzhou 510095 电话 : 020-8358 6125, 传真 : 020-8357 3859-800 Shenzhen 广告代理 : 上海和舟广告有限公司广州分公司 深圳市福田区彩田路星河世界大厦 C1-1303 C1-1303, Galaxy Century Building, Caitian Lu, Futian District, -
China's Year in Review
2017 China's Year in Review Follow China Intercontinental Press Us on Advertising Hotline WeChat Now 城市漫步珠 国内统一刊号: 三角英文版 that's guangzhou that's shenzhen CN 11-5234/GO JANUARY 2018 01月份 that’s PRD 《城市漫步》珠江三角洲 英文月刊 主管单位 : 中华人民共和国国务院新闻办公室 Supervised by the State Council Information Office of the People's Republic of China 主办单位 : 五洲传播出版社 地址 : 北京西城月坛北街 26 号恒华国际商务中心南楼 11 层文化交流中心 11th Floor South Building, Henghua lnternational Business Center, 26 Yuetan North Street, Xicheng District, Beijing http://www.cicc.org.cn 社长 President: 陈陆军 Chen Lujun 期刊部负责人 Supervisor of Magazine Department: 邓锦辉 Deng Jinhui 编辑 Editor: 朱莉莉 Zhu Lili 发行 Circulation: 李若琳 Li Ruolin Senior Digital Editor Matthew Bossons Shenzhen Editor Adam Robbins Guangzhou Editor Daniel Plafker Shenzhen Digital Editor Bailey Hu Senior Staff Writer Tristin Zhang Digital Editor Katrina Shi National Arts Editor Erica Martin Contributors Ned Kelly, Betty Richardson, Lena Gidwani, Dr. Adam Koh, Mia Li, Katrina Shi, Dominic Ngai, Erica Martin, Dominique Wong, Bryan Grogan, Kheng Swe Lim, Paul Barresi, Sky Gidge HK FOCUS MEDIA Shanghai (Head Office) 上海和舟广告有限公司 上海市蒙自路 169 号智造局 2 号楼 305-306 室 邮政编码 : 200023 Room 305-306, Building 2, No.169 Mengzi Lu, Shanghai 200023 电话 : 传真 : Guangzhou 上海和舟广告有限公司广州分公司 广州市麓苑路 42 号大院 2 号楼 610 室 邮政编码 : 510095 Rm 610, No. 2 Building, Area 42, Luyuan Lu, Guangzhou 510095 电话 : 020-8358 6125 传真 : 020-8357 3859 - 816 Shenzhen 深圳联络处 深圳市福田区彩田路星河世纪大厦 C1-1303 C1-1303, Galaxy Century Building, Caitian Lu, Futian District, Shenzhen 电话 : 0755-8623 3220 传真 : 0755-6406 8538 Beijing 北京联络处 北京市东城区东直门外大街 48 号东方银座 C 座 G9 室 邮政编码 : 100027 9G, Block C, Ginza Mall, No. -
A Big Hit Pop Our Life ---The Rise of Hip-Hop Music
投稿類別:英文寫作類 篇名: A Big Hit Pop Our life ---- The Rise of Chinese Hip Hop Music Powerful Influence of “The Rap of China” 作者: 邱煒甯。嘉義高中。高二 16 班 沈明諺。嘉義高中。高二 16 班 指導老師: 黃郁方老師 A Big Hit Pop Our Life ---- The Rise of Chinese Hip Hop Music Powerful influence of “The Rap of China” I. Introduction I.1.The motivation of the study In recent years, Chinese hip hop music has been obviously thriving and flourishing. They have invaded the music industry in Taiwan successfully. More and more rappers emerged, and released their own compositions. These phenomena intensified after a TV program, named “The Rap of China,” was broadcast. What’s more, many Chinese singers now start to add an episode of hip hop music into their songs, which reforms styles of Chinese mainstream music. From the points mentioned above, it can be seen that Chinese hip hop music has gone viral in Taiwan. As members of this new generation, we are also influenced by Chinese hip hop music wave naturally and caught in this fad. This wave, resembling an enormous hurricane, has made a tremendous impact on the young men in Taiwan. Therefore, we are eager to figure out the reason for its and the effects of “the Rap of China” on the development of Chinese hip hop music. I.2. Research questions With the full consideration, a survey was conducted. The following three research questions were generated to explore the reasons for the popularity of Chinese hip hop music in Taiwan and the effects of “the Rap of China” on the development of the music genre. -
Bader, R., Zielke, A. & Franke, J
Audio Engineering Society Convention Paper Presented at the 150th Convention 2021 June 1–4, Online This convention paper was selected based on a submitted abstract and 750-word precis that have been peer reviewed by at least two qualified anonymous reviewers. The complete manuscript was not peer reviewed. This convention paper has been reproduced from the author’s advance manuscript without editing, corrections, or consideration by the Review Board. The AES takes no responsibility for the contents. This paper is available in the AES E-Library (http://www.aes.org/e-lib), all rights reserved. Reproduction of this paper, or any portion thereof, is not permitted without direct permission from the Journal of the Audio Engineering Society. Timbre-based machine learning of clustering Chinese and Western Hip Hop music Rolf Bader1, Axel Zielke1, and Jonas Franke1 1Institut of Systematic Musicology, University of Hamburg, Germany Correspondence should be addressed to Rolf Bader ([email protected]) 摘摘摘要要要 Chinese and Western Hip Hop musical pieces are clustered using timbre-based Music Information Retrieval (MIR) and machine learning (ML) algorithms. Psychoacoustically motivated algorithms extracting timbre features such as spectral centroid, roughness, sharpness, sound pressure level (SPL), flux, etc. were extracted form 38 contemporary Chinese and 38 Western ’classical’ (USA, Germany, France, Great Britain) Hip Hop pieces. All features were integrated over the pieces with respect to mean and standard deviation. A Kohonen self-organizing map, as integrated in the Computational Music and Sound Archive (COMSAR[6]) and apollon[1] framework was used to train different combinations of feature vectors in their mean and standard deviation integrations. -
Level of Understanding Hip Hop Culture in Taiwan: a Survey Study of Members of Taiwanese College Hip Hop Clubs
LEVEL OF UNDERSTANDING HIP HOP CULTURE IN TAIWAN: A SURVEY STUDY OF MEMBERS OF TAIWANESE COLLEGE HIP HOP CLUBS By Wei-Han Chang 張媁涵 Submitted to the Faculty of Department of International Affairs in partial fulfillment of the requirements for the degree of Bachelor of Arts in International Affairs Wenzao Ursuline University of Languages 2020 WENZAO URSULINE UNIVERSITY OF LANGAUGES DEPARTMENT OF INTERNATIONAL AFFAIRS This senior paper was presented by Wei-Han Chang 張媁涵 It was defended on November 30, 2019 and approved by Reviewer 1: Ren-Her Hsieh, Associate Professor, Department of International Affairs Signature: __________________________Date: _________________________ Reviewer 2: Samuel C. Y. Ku, Professor, Master Program on Southeast Asian Studies Signature: __________________________Date: _________________________ Advisor: Daniel Lin, Associate Professor, Department of International Affairs Signature: __________________________Date: _________________________ ii Copyright © by Wei-Han Chang 張媁涵 2020 iii Level Of Understanding Hip Hop Culture In Taiwan: A Survey Study Of Members Of Taiwanese College Hip Hop Clubs Wei-Han Chang Wenzao Ursuline University of Languages, 2020 Abstract For fifty years, hip hop has become a mainstream culture in America. After hip hop culture was introduced to Taiwan in 1989, hip hop clubs were gradually established in Taiwanese colleges to develop hip hop culture. When these students pursue this culture, they should understand it and know what it should be. However, in these days, many join the hip hop clubs because they want to jump on the bandwagon. Therefore, this survey study explored the level of these students’ understanding of hip hop culture. A questionnaire was developed to explore how much these members know about hip hop culture, hip hop music, street dance, and graffiti. -
Freestyle ? » Aux Racines De La Censure Du Hip-Hop Chinois
Perspectives chinoises 2018/1-2 | 2018 Nouvelles approches du régime politique sous Xi Jiping « Est-ce que tu as du freestyle ? » Aux racines de la censure du hip-hop chinois Nathanel Amar Édition électronique URL : http://journals.openedition.org/perspectiveschinoises/8309 ISSN : 1996-4609 Éditeur Centre d'étude français sur la Chine contemporaine Édition imprimée Date de publication : 1 juin 2018 Pagination : 113-119 ISBN : 979-10-91019-26-2 ISSN : 1021-9013 Référence électronique Nathanel Amar, « « Est-ce que tu as du freestyle ? » », Perspectives chinoises [En ligne], 2018/1-2 | 2018, mis en ligne le 01 juin 2018, consulté le 28 octobre 2019. URL : http://journals.openedition.org/ perspectiveschinoises/8309 © Tous droits réservés Actualités perspectives chinoises « Est-ce que tu as du freestyle ? » (*) Aux racines de la censure du hip-hop chinois e hip-hop chinois a récemment fait l’objet d’une couverture média- julebu 嚎叫俱乐部), qui produit les premiers disques de hip-hop chinois au tique internationale importante. Des dizaines d’articles, de la BBC (1) à début des années 20N00.A EnT 2H00A2 SNcreEamL RAecoMrdsA pRublie le premier disque Ll’Express (2) en passant par le Time (3) tentent d’expliquer l’étonnante de CMCB (Chinese MC Brothers, Zhongguo shuochang xiongdi 中国说唱兄 censure du rap chinois voulue par les autorités communistes, après sa spec- 弟), Kung Fu (Gongfu 功夫), puis en 2003 l’album du collectif international taculaire émergence ces dernières années dans les médias officiels. Le 19 Yin T’sang (Yincang 隐藏), Serve The People (Wei renmin fuwu 为人民服务), janvier 2018, une courte dépêche de l’agence Sina indique que l’Adminis- composé notamment de MC Webber (MC Wangbo MC王波). -
Morality in Music: Censorship of Chinese Pop Songs
MORALITY IN MUSIC: CENSORSHIP OF CHINESE POP SONGS Julia Zeijlemaker Leiden University 1286579 [email protected] Supervisor: Prof.dr. M. van Crevel Professor of Chinese Language and Literature at Leiden University [email protected] ACKNOWLEDGEMENTS I would like to thank Prof.dr. Maghiel van Crevel of the University of Leiden for his support and enthusiasm. Prof. van Crevel always took the time to provide me with advice whenever I got stuck during the writing process, provided me with helpful literature and steered me in the right direction when I needed it. I really enjoyed our discussions about censorship, morality and music in China. I would also like to thank Prof.dr. Michel Hockx, who was very generous to let me read and cite his unpublished manuscript of his AAS paper titled “Censorship, Morality, and Cultural Policy under Xi Jinping”. Prof. Hockx paper provided me with helpful information regarding censorship practices and the role of morality in modern-day China. Table of Contents Introduction ........................................................................................................................... 1 Research question .............................................................................................................. 1 Scholarship to date ............................................................................................................. 2 Methodology ..................................................................................................................... -
Introduction to Three Asias: China
PARADOXA, NO. 22, 2010 Introduction to Three Asias: China Zhang Zhen New York University In the past few years I have made several trips to the “Three Chinas” (to play on the title of this special issue)—China, Taiwan and Hong Kong. The rise of China as a new economic giant in the last decade has significantly reordered the geopolitical dynamics of the Chinese-speaking region, with repercussions felt across the Taiwan Strait, in neighboring East Asian countries, around the Asia-Pacific region, and beyond. The 2008 Beijing Olympics and the 2010 World Expo in Shanghai—the two greatest mass spectacles in recent world history—served as gargantuan display windows for a China self-conscious of its regained position as the “middle kingdom” in the new millennium. When I was trying to stop over in Tokyo for the Society of Cinema and Media Studies Annual Conference to be held, rarely, outside Euro-America in May 2009, the conference had suddenly been canceled under pressure from the Japanese goverment due to the Swine Flu epidemic. In contrast, China and Hong Kong, where I continued my journey, seemed to be more or less business as usual, everywhere teeming with people, goods and signs and, above all, the pulsating or even excessive energy that I had experienced in the heyday of Japan’s bubble economy while living there. As someone who comes from the PRC originally and now as a New York-based film historian working on a project on the reshuffled or alienated kinship relations of three Chinese cinemas during the Cold War, I was particularly struck by the exponentially increased interconnectedness of the Chinese-speaking region, in the form of the ceaseless and speedy transregional circulation of money, people, and commodities of all kinds. -
Hong Kong Hair City
A R O U N D T O W N 發光的城市 15 TAIPEI TIMES • FRIDAY, NOVEMBER 20, 2009 BY Alita RICKards CONTRIBUTING REPORTER MUSIC New (and improved) Hong Kong Hair City few days at any Taiwan- Tristan Newman, from Wooley’s vocalist in the Taiwan expat scene, based music festival reveals a other band, Doublewide. This, and could hold her own anywhere. On disconcerting absence on the combined with Sanger’s coming into stage she can range from humble to Ascene. While there are plenty of male- her own as both a vocalist and a absolutely electrifying. fronted bands, both Taiwanese and performer, has amped up the band When the group performs, the expatriate, and a thriving Taiwanese from a funky fun time outfit to a audience’s reaction speaks for itself. girl band ethos, finding a foreign force to be reckoned with. The crowd dances and cheers along to band with a female lead is like “I cringe when I think of myself the music, irresistibly drawn to bust a finding a four-leaf clover — a rare performing back when we started.” move, while fans of the band sing along instance of luck. said Sanger. “I would shake until to the choruses of their favorite songs. When New Hong Kong Hair City my fingers couldn’t hit the right “My two favorite parts of playing appeared in 2006, lead vocalist and keys. I hated performing and being in NHKHC are writing new songs keyboardist Danielle Sanger’s raw the singer.” Though she credits her with the boys and jumping about on lyrics, powerful yet shaky vocals, and “professional improvement” over stage watching all the people in the female presence (hidden though it the years to the guys in the band, audience do the same,” said Sanger.